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WOMEN    IN   THE    FINE   ARTS 

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NATIONAL    I'OHTHAITGALLEKV,    LONDON 


PORTRAIT  OF  COPLEY  BY.  lilMSKLF 
Copley  was  a  fine  looking  man,  courtly  in  manner  .md  elegant  in  his  dress.  The 
portrait  given  above  shows  him  with  a  powdered  wig  and  wearing  a  red  coat  and 
white  muslin  stock.  The  original  painting,  a  -ketch  in  oils,  in  which  the  head  is 
lire-sized,  is  owned  by  Gardiner  Greene  Hammond,  Esq.,  of  Boston,  by  whose  per- 
mission it  is  here  reproduced. 

[404] 


MASTERS     IN     ART 


3Joiw  &in$ltton  €oplt$ 


BORN   1737:    DIED   1815 
AMERICAN    SCHOOL 


JOHN  SINGLETON  COPLEY,  the  first  great  American  portrait- 
painter,  was  born  in  Boston,  Massachusetts,  on  July  3,  17  37.  Both  his 
parents,  although  of  English  origin,  were  Irish  by  birth.  His  father,  Rich- 
ard Copley,  was  a  native  of  Limerick;  his  mother,  Mary  Singleton,  was 
the  daughter  of  John  Singleton,  Esq.,  of  Quinville  Abbey,  County  Clare. 
Married  in  17  36,  Richard  Copley  and  his  young  bride  determined  to  seek 
a  new  home  for  themselves  in  America,  the  story  current  in  the  Copley 
family  being  "that  Mr.  Richard  Copley,  although  endowed  with  a  good 
name  and  a  handsome  person,  was  not  wealthv,  and  that  Squire  Singleton 
perhaps  could  not,  and  certainly  did  not,  so  largely  endow  his  daughter 
as  to  allow  her  husband  and  herself  to  continue  to  reside  in  County  Clare 
in  the  style  to  which  she  at  least  had  been  accustomed."  Accordingly  they 
emigrated  to  the  new  world,  and  forthwith  settled  in  the  town  of  Boston, 
where,  in  the  following  year,  their  only  son,  the  future  painter,  was  born. 
At  about  the  time  of  his  son's  birth  Richard  Copley  died  in  the  West  Indies, 
where  he  had  gone  for  his  health,  and  about  ten  years  later  his  widow,  who 
after  the  death  of  her  husband  had  carried  on  the  tobacco  business,  in  which 
he  had  been  engaged,  married  Peter  Pelham,  a  widower  with  three  sons; 
one  son  only,  Henry  Pelham,  was  born  of  this  second  marriage. 

Unfortunately,  but  little  is  known  of  Copley's  childhood  and  early  youth. 
When  very  young  he  is  said  to  have  shown  a  decided  taste  for  drawing, 
even,  according  to  family  tradition,  covering  the  walls  of  his  nursery  with 
childish  sketches,  and  frequently  incurring  the  displeasure  of  his  teachers  by 
the  drawings  with  which  he  ornamented  his  school-books.  He  was  by  nature 
quiet  and  shy,  and  when  his  companions  were  engaged  in  play  or  in  study 
would  often  steal  away,  pencil  in  hand,  "to  muse  over  his  own  fancies  and 
to  pursue  undisturbed  his  favorite  employment." 

"The  marriage  of  Copley's  mother  to  Mr.  Pelham,"  writes  Mr.  Augustus 
T.  Perkins,  "was  probably  of  the  utmost  advantage  to  the  future  artist.  Be- 
sides being  a  man  of  unusually  good  education  for  the  time — a  land-surveyor 
and  a  mathematician  —  Mr.  Pelham  was  certainly  a  passable  painter  of  por- 

[485] 


24  MASTERS    IN    ART 

traits,  and  a  mezzotint  engraver  of  more  than  ordinary  merit.  He  preceded 
Smvbert,  the  painter,  and  Harrison,  the  architect,  who  came  to  this  countrv 
in  the  train  of  Bishop  Berkeley,  by  at  least  three  years.  Whitmore,  speaking 
of  him  in  connection  with  his  painting  and  engraving,  says, 'He  was  the 
founder,  indeed,  of  these  arts  in  New  England.'  .  .  .  Pelham  most  probably 
taught  his  stepson,  Copley,  the  rudiments  of  his  art,  whilst  his  example  must 
have  been  of  timely  service  in  fostering  such  tastes  as  the  child  mav  have 
shown.  The  household  of  Peter  Pelham  was,  perhaps,  the  only  place  in  New 
England  where  painting  and  engraving  were  the  predominant  pursuits." 

Bevond  the  instruction  received  from  his  stepfather,  however,  Copley 
seems  to  have  been  self-taught;  although  it  is  difficult  to  accept  the  statement 
made  in  after  years  by  Copley's  son,  Lord  Lyndhurst,  that  his  father  "was 
entirelv  self-taught  and  never  saw  a  decent  picture,  with  the  exception  of  his 
own,  until  he  was  nearly  thirtv  years  of  age,"  when  there  were  in  Boston  at 
that  time  numerous  portraits  by  the  Scotch  painter  John  Smybert,  and  by 
Jonathan  B.  Blackburn,  who  succeeded  Smybert  in  that  town  as  "the  painter 
of  the  qualitv,"  to  sav  nothing  of  a  few  good  pictures  brought  from  Europe 
by  the  wealthiest  among  the  colonists. 

In  1751,  when  Copley  was  fourteen  years  old,  his  stepfather  died.  He 
and  his  mother  and  brothers  continued  to  live  in  the  small  house  which  they 
had  been  occupving  in  Boston,  near  the  Quaker  meeting-house  in  Lindel's 
Row,  not  far  from  the  upper  end  of  King  Street,  as  State  Street  was  then 
called.  In  the  following  year  the  young  artist  painted  a  portrait  of  his  step- 
brother, Charles  Pelham,  which,  although  faulty  in  many  respects,  gave  prom- 
ise of  what  the  boy  of  fifteen  was  to  accomplish  in  after  years.  In  17  53, 
when  sixteen,  he  painted  and  engraved  a  head  of  the  Rev.  William  Welsteed, 
of  Boston,  and  also  executed  in  oils  a  portrait  of  Dr.  De  Mountfort,  then  a 
child.1 

The  next  few  years  passed  quietly  and  uneventfully.  The  young  painter 
worked  diligently  at  his  profession,  improving  constantly  both  as  a  draftsman 
and  a  colorist,  and  being  in  receipt  of  an  ever-increasing  number  of  commis- 
sions for  portraits  in  oils  and  in  crayons. 

In  1769,  when  he  was  thirty-two  years  old,  Copley  married  Susannah 
Farnum,  daughter  of  Mr.  Richard  Clarke,  a  wealthy  and  distinguished  mer- 
chant of  Boston,  and  agent  for  the  East  India  Company,  whose  name  was 
later  to  become  famous  as  the  consignee  of  the  cargoes  of  tea  which  were 
thrown  into  Boston  harbor  by  way  of  protest  against  the  tax  imposed  by 
England  upon  that  commodity.  The  marriage  was  an  eminently  happy  one. 
Mrs.  Copley  has  been  described  as  a  woman  of  unusual  beauty  of  character, 
and  of  such  high  mental  attainments  that  her  companionship  was  a  never- 
failing  inspiration  to  her  husband.  Copley  frequently  introduced  her  portrait 
into  his  subject-pictures,  and  from  a  crayon  sketch  which  he  made  of  her, 

'The  frequently  repeated  statement  that  when  Washington  visited  Boston  in  1755  Copley  painted 
his  portrait  in  miniature  has  been  proved  to  be  without  foundation.  The  so-called  Copley  miniature  of 
Washington,  now  in  the  Metropolitan  Museum,  New  York,  was  painted  by  C.  W.  Peale  in  177".  See 
•  Life  Portraits  of  George  Washington  '  by  Charles  Henry  Hart,   •  McClure's  Magazine,'  February,  1897. 

[486] 


COPLEY  25 

but  still  more  from  her  likeness  in  the  celebrated  'Family  Group'  (plate  vi), 
it  is  evident  that  she  possessed  much  personal  beauty. 

At  the  time  of  his  marriage  Copley  had  as  many  commissions  for  portraits 
as  he  could  execute,  and  although  his  prices  were  not  high,  ranging  from  five 
to  fourteen  guineas,  he  was  in  receipt  of  a  comfortable  income.  Two  years 
later  we  hear  of  him  as  living  in  a  beautiful  house  on  Beacon  Hill,  Boston, 
"fronting  on  a  fine  open  common;"  and  it  was  not  long  after  this  that  he 
became  the  owner  of  all  the  land  which  lies  between  Charles,  Beacon,  Wal- 
nut, and  Mt.  Vernon  Streets,  Louisburg  Square,  and  Pinckney  Street — a 
tract  of  about  eleven  acres.  Upon  this  estate  —  his  "farm"  he  used  to  call 
it  —  Copley's  early  married  life  was  spent.  There  four  of  his  six  children 
were  born;  there  he  practised  his  art  with  unremitting  diligence,  painting 
those  many  portraits  of  courtly  gentlemen  in  broadcloth  or  in  satin  coats 
and  powdered  wigs,  and  of  stately  ladies  in  gowns  of  rich  silks  and  stiff"  bro- 
cades, which  have  made  his  name  famous. 

The  population  of  Boston  at  this  time  was  about  eighteen  thousand.  Fine 
colonial  mansions  standing  in  spacious  gardens  embellished  the  town,  com- 
manding unobstructed  views  of  the  adjacent  country  with  its  hills  and  for- 
ests, and  of  the  harbor,  alive  with  sailing-vessels  from  all  parts  of  the  world. 
Even  in  those  early  days  Boston  was  noted  as  the  center  of  a  learned  and 
cultivated  society,  and  among  the  distinguished  men  and  women,  the  emi- 
nent statesmen,  merchants,  and  divines,  Copley  counted  patrons  and  friends, 
"his  courtly  manner  and  genial  disposition  making  him  a  general  favorite." 

In  1771,  Colonel  Trumbull,  then  a  young  man  at  Harvard  College,  relates 
that  he  visited  the  painter  in  his  home  on  Beacon  Hill,  and  was  greatly 
struck  by  the  richness  of  Copley's  dress  and  elegance  of  his  appearance,  de- 
scribing him  as  being  attired  in  a  suit  of  crimson  velvet  with  gold  buttons, 
and  as  having  everything  about  him  in  very  handsome  style. 

In  17  74  an  important  step  in  Copley's  career  was  taken.  Sometime  be- 
fore—  probably  in  1766  —  he  had  sent  to  his  countryman  the  painter  Ben- 
jamin West,  then  resident  in  London,  a  picture  of  a  boy  seated  at  a  table, 
holding  in  his  hand  a  chain  to  which  a  squirrel  is  attached.  This  painting,  a 
portrait  of  the  artist's  half-brother,  Henry  Pelham,  was  unsigned,  and  the 
letter  which  should  have  accompanied  it  having  been  delayed,  the  picture 
reached  its  destination  without  an  explanatory  word.  West,  however,  sur- 
mised that  it  was  the  work  of  an  American  painter  from  the  pine  wood  of  the 
frame  on  which  the  canvas  was  stretched,  and  also  because  the  flying  squir- 
rel introduced  was  an  animal  peculiar  to  America,  and  the  painting  bore  so 
plainly  the  evidence  of  a  master-hand  that  he  was  loud  in  his  praise,  enthu- 
siastically pronouncing  the  coloring  to  be  worthy  of  Titian.  The  rule  ex- 
cluding from  the  exhibition  of  the  Society  of  Incorporated  Artists — the  fore- 
runner of  the  Royal  Academy  —  all  anonymous  works,  indeed  all  works  not 
painted  by  members  of  the  Society,  was  waived,  and  Copley's  'Boy  with  the 
Squirrel'  was  given  a  place  in  the  exhibition. 

His  reputation  in  England  was  at  once  established,  and  he  was  urged  to 
go  to  London;  but  although  stronglv  tempted  to  try  his  fate  in  competition 

[487] 


26  MASTERS     IN     ART 

with  the  artists  of  his  day  in  a  way  from  which  he  was  debarred  in  his  home 
across  the  sea,  the  serious  risks  which  such  a  step  involved  caused  him  to  hes- 
itate. "I  make  as  much  hen-,"  he  wrote  to  a  friend  in  17  67,  "as  if  I  were 
a  Raphael  or  a  Correggio;  and  three  hundred  guineas  a  year,  my  present  in- 
come, is  equal  to  nine  hundred  a  year  in  London.  With  regard  to  reputa- 
tion, you  are  sensible  that  fame  cannot  be  durable  where  pictures  are  con- 
fined to  sitting-rooms  and  regarded  only  for  the  resemblance  they  bear  to  their 
originals.  Were  I  sure  of  doing  as  well  in  Europe  as  here,  I  would  not  hes- 
itate a  moment  in  my  choice;  but  I  might  in  the  experiment  waste  a  thou- 
sand pounds  and  two  years  of  my  time,  and  have  to  return  baffled  to  Amer- 
ica. 

His  marriage,  the  family  cares  which  followed,  and  the  necessity  of  earn- 
ing an  income  sufficient  not  only  for  the  expenses  of  his  travels,  but  for  the 
support  of  his  wife  and  children  during  his  absence,  postponed  all  thought 
of  Europe  for  the  time,  however,  and  it  was  not  until  17  74,  when  relations 
with  the  mother-country  were  becoming  strained,  and  he  may  have  felt  that 
his  income  was  in  danger  of  being  curtailed,  that  Copley  concluded  to  cross 
the  Atlantic,  in  order  to  improve  his  style  by  the  study  of  the  old  masters  in 
the  galleries  of  Italy  and  other  continental  countries,  and  possibly  to  try  his 
fortune  in  England,  where  he  had  already  established  a  name  for  himself. 
Accordingly,  in  June  of  that  year,  leaving  his  wife  and  children  to  follow 
later  if  it  should  seem  best  to  transfer  the  home  from  Boston  to  London, 
Copley  left  his  native  country,  to  which,  as  it  turned  out,  he  never  returned. 

A  cordial  welcome  awaited  him  in  England,  where  he  landed  after  a  four- 
weeks'  voyage.  West  took  him  to  see  all  that  was  best  in  art  in  London 
and  showed  him  every  attention.  In  a  letter  to  his  wife,  written  soon  after 
his  arrival,  Copley  says,  "I  have  just  returned  from  Mr.  West's  house,  where 
I  took  tea.  He  accompanied  me  to  the  queen's  palace,  where  I  beheld  the 
finest  collection  of  paintings,  I  believe,  in  England.  ...  I  have  had  a  visit 
from  Sir  Joshua  Reynolds,  and  from  Mr.  Strange,  the  celebrated  engraver. 
Lord  Gage  is  out  of  town;  I  have  not,  therefore,  seen  him  or  Lord  Dart- 
mouth, but  shall  be  introduced  to  the  latter  next  week  by  Governor  Hutch- 
inson.  ...   I  dine  out  every  day." 

In  addition  to  his  social  engagements  Copley  found  ample  opportunity  for 
the  exercise  of  his  profession;  but  he  was  anxious  to  begin  his  art  studies  as 
soon  as  possible,  and  in  August  he  left  England  for  Italy,  and  passing  through 
Lyons,  Marseilles,  Genoa,  Pisa,  and  Florence,  reached  Rome  in  October. 
His  letters  to  his  wife  written  at  this  period  of  his  career  give  the  best  and 
most  vivid  account  of  his  travels.  Everywhere  his  interest  was  aroused  by  the 
novelty  and  beauty  of  the  scenery,  and  by  the  great  works  of  art  which  he  saw. 
From  Genoa  he  writes:  "I  am  impatient  to  get  to  work,  and  to  try  if  my  hand 
and  my  head  cannot  do  something  like  what  others  have  done,  by  which  they 
have  astonished  the  world  and  immortalized  themselves.  Genoa  is  a  lovely 
city.  ...  If  I  should  be  suddenly  transported  to  Boston  I  should  think  it 
only  a  collection  of  wren-boxes;  it  is  on  so  small  a  scale  compared  to  the 
cities  of  Europe." 

[488] 


COPLEY  27 

In  a  letter  from  Rome,  after  expressing  his  relief  upon  hearing  from  Mrs. 
Copley  that  hostilities  between  the  colonies  and  Great  Britain  were  not  so 
openly  declared  as  he  had  feared  from  the  accounts  in  the  London  papers, 
he  says:  "It  is  truly  astonishing  to  see  the  works  of  art  in  this  city  —  paint- 
ing, sculpture,  and  architecture  in  such  quantity,  beauty,  and  magnificence  as 
exceed  description.  I  shall  always  enjoy  satisfaction  from  this  tour.  .  .  . 
I  know  the  extent  of  the  arts,  to  what  length  they  have  been  carried,  and  I 
feel  more  confidence  in  what  I  do  myself  than  I  did  before  I  came." 

"Everywhere  I  go,"  he  writes  later,  "I  find  some  persons  to  whom  I  am 
known,  or  am  introduced  to.  .  .  .  When  I  arrived  in  Naples  I  waited  on 
Sir  William  Hamilton,  to  deliver  a  letter  from  Mr.  Palmer,  of  Boston.  I 
was  introduced  into  a  room  where  there  was  a  concert  and  company.  I  in- 
quired of  the  servant  which  was  Sir  William,  and  delivered  my  letter.  Mr. 
Izard  stepped  forward  and  presented  me.  Sir  William  read  the  letter,  and  po- 
litely said:  'Mr.  Copley  needs  no  introduction;  his  name  is  sufficient  any- 
where.' I  cannot  but  say  I  have  been  surprised  to  find  myself  known  in 
places  so  distant;  I  am  happy,  at  the  same  time,  in  being  less  a  stranger  in 
the  world  than  I  thought,  and  have  found  in  every  place  persons  desirous  of 
rendering  such  kind  offices  as  a  stranger  stands  in  need  of." 

But  with  all  his  enjoyment  of  foreign  travel  and  keen  delight  in  the  works 
of  art  about  him,  Copley  was  filled  with  anxiety  regarding  the  disturbed  con- 
dition of  his  country,  the  welfare  of  his  family,  and  the  uncertainty  which 
attended  their  future  and  his  own  career.  His  main  idea  was  to  complete  as 
speedily  as  could  be  the  studies  he  had  laid  out  for  himself,  so  that  the  sep- 
aration from  his  wife  and  children  should  be  of  the  shortest  possible  duration, 
"for  till  we  are  together,"  he  wrote  to  Mrs.  Copley,  "I  have  as  little  hap- 
piness as  yourself.  As  soon  as  possible  you  shall  know  what  my  prospects 
are  in  England,  and  then  you  will  be  able  to  determine  whether  it  is  best  for 
you  to  go  there  or  for  me  to  return  to  America." 

This  question  was  soon  decided  by  the  outbreak  of  the  Revolutionary 
War.  Copley  was  in  Parma  at  the  time,  where  he  had  been  commissioned 
by  Lord  Grosvenor  to  make  a  copy  of  Correggio's  'Madonna  with  St.  Je- 
rome,' a  commission  which  he  successfully  carried  out,  although  according 
to  his  own  acknowledgment  his  anxiety  almost  rendered  him  incapable  of 
proceeding  with  it. 

In  a  letter  to  his  wife  written  at  this  time  he  says:  "I  am  informed  by  a 
letter  from  London  that  what  I  greatly  feared  has  at  last  taken  place,  and 
the  war  has  begun,  and,  if  I  am  not  mistaken,  the  country  which  was  once 
the  happiest  on  the  globe  will  be  deluged  with  blood  for  many  years  to  come. 
I  cannot  think  that  the  power  of  Great  Britain  will  subdue  the  country,  if 
the  people  are  united,  as  they  appear  to  be  at  present.  I  know  it  may  appear 
strange  to  some  men  of  strong  understanding  that  I  should  hold  such  an 
opinion,  but  it  is  very  evident  to  me  that  America  will  have  the  power  of 
resistance  till  grown  strong  enough  to  conquer,  and  that  victory  and  inde- 
pendence will  go  hand  in  hand.  I  tremble  for  you,  my  dear,  my  children  and 
friends." 

[480] 


28  MASTERS     IN     ART 

Dread  of  the  long  separation  from  her  husband  which  would  be  enforced 
by  war,  and  the  knowledge  that  there  would  be  no  employment  for  an  art- 
ist in  a  country  impoverished  by  its  ravages,  decided  Mrs.  Copley  to  follow 
her  husband  without  waiting  to  hear  of  his  return  to  England,  and  leaving 
in  the  care  of  Mrs.  Pelham,  Copley's  mother,  her  youngest  child,  which  was 
too  delicate  to  bear  the  long  sea  voyage,  and  which  shortly  afterwards  died, 
she  set  sail  with  her  two  young  daughters  and  son  on  the  last  ship  which  left 
New  England  under  the  British  flag.  Upon  their  arrival  on  the  other  side 
of  the  water  thev  were  cared  for  by  Mrs.  Copley's  brother-in-law,  Mr.  Brom- 
field,  then  in  London,  until  such  time  as  Copley  could  join  them. 

The  news  that  his  wife  and  children  had  left  America  reached  the  painter 
while  he  was  in  Parma,  and  before  manv  months  the  family  were  reunited 
in  London,  which  thenceforth  became  their  home.  Their  first  residence  there 
was  in  Leicester  Eields,  but  at  the  end  of  a  vear  or  two  they  removed  to  25 
George  Street,  Hanover  Square,  where  Mr.  Clarke,  Mrs.  Copley's  father, 
lived  with  them.  The  house  was  commodious,  and  admirably  adapted  in  its 
arrangements  to  the  requirements  of  a  painter,  and  there  the  remainder  of 
Copley's  life  was  spent. 

Copley  was  already  well  known  in  London.  It  was  not  long  before  he 
became  the  fashion,  and  commissions  for  portraits  of  the  nobility  and  of  peo- 
ple of  note  kept  him  busily  employed.  Not  only  was  he  engaged  in  painting 
portraits,  but,  fired  by  the  example  of  West,  he  attempted,  in  accordance 
with  the  taste  of  the  dav,  the  composition  of  large  historical  scenes.  The 
first  of  his  subject-pictures  was  'A  Youth  Rescued  from  a  Shark,'  depicting 
an  experience  in  the  early  life  of  Mr.  Brook  Watson,  whom  Copley  had  met 
on  the  voyage  to  England,  and  whose  vivid  description  of  the  incident  had 
made  a  deep  impression  on  his  mind.  Of  the  two  versions  which  he  painted 
of  this  subject  one  is  now  in  Christ's  Hospital  School,  London;  the  other  is 
in  the  Museum  of  Fine  Arts,  Boston. 

Upon  West's  recommendation  Copley  was  intrusted  with  the  painting  of 
a  picture  of  the  three  young  daughters  of  King  George  III.  in  the  garden  at 
Windsor.  Mrs.  Amory  has  told  us  how  the  artist,  in  his  anxiety  to  do  justice 
to  this  group  and  to  his  own  genius  as  well,  so  wearied  the  patience  of  the 
little  princesses  that  their  attendants  appealed  to  the  queen  to  request  Mr. 
Copley  to  shorten  the  time  he  exacted  for  their  sittings.  The  queen,  how- 
ever, deemed  it  best  not  to  interfere,  and  in  the  end  the  success  of  the  pic- 
ture amply  compensated  for  all  trials  which  the  children  had  undergone. 

Copley  was,  indeed,  notorious  for  his  slow  method  of  procedure  in  paint- 
ing. On  one  occasion  Gilbert  Stuart  happening  to  call  at  his  studio,  Copley 
asked  if  he  would  stand  for  him  while  he  painted  a  bit  of  the  cambric 
shirt-ruffle  that  decorated  his  bosom.  Thinking  that  it  would  occupy  but  a 
few  minutes,  Stuart  complied,  but  after  standing  a  long  time  he  became  im- 
patient, and  Copley  apologized  for  the  delay.  "No  consequence  at  all," 
said  Stuart,  "I  beg  you  would  finish — do  all  you  can  to  it  now,  for  I  assure 
you  this  is  the  last  time  you  ever  get  me  into  such  a  scrape." 

Another  story,  of  more  than  doubtful  authenticity  it  must  be  said,  is  told 

[400] 


COPLEY  29 

of  his  undertaking  to  paint  a  family  group  which  progressed  so  slowly  that 
the  wife  of  the  gentleman  who  ordered  it  died  and  he  married  again.  At  his 
request  a  portrait  of  his  first  wife  was  introduced  as  an  angel,  while  her  suc- 
cessor occupied  her  place  on  earth.  But  before  the  picture  was  completed 
the  second  wife  died,  and  was  placed  in  the  clouds  above,  being  in  her  turn 
succeeded  by  a  third,  who  claimed  the  central  position  in  the  group.  As 
the  price  of  this  picture  was  in  proportion  to  the  artist's  labor,  it  was  dis- 
puted by  the  gentleman,  who  claimed  that  the  painting  should  have  been 
completed  before  his  domestic  changes  had  necessitated  the  alterations.  It 
is  further  said  that  Copley  went  to  law  about  it,  and  won  his  suit. 

Copley's  celebrated  canvas,  'The  Death  of  the  Earl  of  Chatham,'  now  in 
the  National  Gallery,  London,  established  his  reputation  as  a  historical 
painter.  'The  Death  of  Major  Pierson,'  painted  some  time  afterwards,  and 
now  in  the  same  gallery,  is  of  greater  artistic  value,  and  added  materially 
to  his  fame,  as  did  his  large  canvas,  now  in  the  trustees'  room  of  the  Boston 
Public  Library,  of  'Charles  I.  Demanding  in  the  House  of  Commons  the 
Five  Impeached  Members.' 

In  177  9  Copley  was  elected  a  member  of  the  Royal  Academy,  of  which 
body  he  had  previously  been  chosen  an  associate.  Soon  after  this  he  was 
commissioned  by  the  city  of  London  to  paint  a  large  picture  of  'The  Siesje 
and  Relief  of  Gibraltar,'  now  in  the  Guildhall  of  London,  and,  accom- 
panied by  his  wife  and  eldest  daughter,  went  to  Hanover,  Germany,  to  paint 
the  portraits  of  four  Hanoverian  generals  who  were  to  figure  in  the  compo- 
sition. A  letter  from  the  English  king,  George  in.,  was  presented  to  the 
painter,  and  insured  a  hospitable  reception  for  him  and  his  family. 

With  the  exception  of  this  trip  to  Germany,  the  remainder  of  Copley's 
life  was  passed  in  England.  "A  more  congenial  sphere  for  a  man  of  genius," 
writes  Mrs.  Amory,  "can  scarcely  be  imagined  than  his  London  home.  It 
was  the  favorite  resort  of  his  countrymen  in  England,  of  every  shade  of  po- 
litical opinion,  and  of  all  that  were  distinguished  in  the  aristocratic  circles 
of  the  colonial  court,  as  well  as  men  of  art  and  letters." 

But  notwithstanding  Copley's  success  in  his  profession  and  happiness  in 
his  home,  his  thoughts  constantly  reverted  to  that  earlier  home  in  America, 
and  in  his  heart  he  cherished  the  hope  of  returning  to  it.  His  property  in 
Boston,  which  since  his  departure  for  England  had  greatly  increased  in 
value,  had  been  sold  by  his  agent  at  a  sacrifice,  and  Copley,  desiring  to 
annul  the  bargain,  sent  his  son  to  America  in  1795  to  regain,  if  possible, 
"the  farm"  on  Beacon  Hill.  To  his  lasting  sorrow,  however,  this  attempt 
met  with  no  satisfactory  result,  and  there  was  no  alternative  but  to  accept 
of  a  compromise  of  all  Coplev's  claims.  "Thus,"  writes  Mrs.  Amory,  "the 
dream  of  his  life  since  he  left  America  vanished,  and  his  last  aspiration  of 
returning  to  close  his  eyes  among  the  scenes  of  his  youth  ended  in  disap- 
pointment." 

The  last  years  of  Copley's  life  were  saddened  by  pecuniary  embarrass- 
ments. "Picture  after  picture  was  finished,"  we  are  told,  "exhibited,  and 
admired,  but  not  sold;   so  that  his  self-love  was  wounded  and  his  spirits  de- 

[491] 


30  MASTERS     IN     ART 

pressed."  The  disturbed  political  condition  of  England  occasioned  by  the  long 
continued  continental  wars,  which  crippled  her  financial  resources  and  ren- 
dered the  times  unfavorable  to  art,  was  in  a  measure  accountable  for  this; 
but  there  was  in  addition  the  fact  that  new  methods  in  painting  were  replac- 
ing the  old,  and  that  what  had  been  acceptable  to  the  generation  to  which 
Copley  belonged  was  not  in  accordance  with  the  taste  of  the  generation  which 
followed.  But  in  spite  of  discouragements  he  worked  on  diligently  to  the  last, 
always  able  to  interest  himself  so  absorbingly  in  his  painting  that  with  his 
brush  in  hand  every  other  subject  was  forgotten. 

in  the  spring  of  1815  Mrs.  Copley  wrote  to  her  daughter,  Mrs.  Gardiner 
Greene,  then  living  in  Boston,  "I  have  the  happiness  to  say  that  we  are  in 
health,  and  this  is  much  when  I  bring  your  recollection  to  the  period  of  life 
to  which  your  father  has  attained.  In  your  absence  of  fifteen  years  you  would 
contemplate  a  great  change;  he  grows  feeble  in  his  limbs,  and  goes  out  very 
seldom,  for  walking  fatigues  him;  but  his  health  is  good,  and  he  pursues  his 
profession  with  pleasure." 

In  the  following  August  Copley  had  a  stroke  of  paralysis,  and  on  the  ninth 
of  September  of  that  year,  1815,  he  died,  at  the  age  of  seventy-eight,  from 
the  effects  of  a  second  stroke.  He  was  buried  in  the  Church  of  St.  John  the 
Baptist  at  Croydon,  not  far  from  London. 

His  wife  survived  him  many  years,  as  did  three  children, —  Mrs.  Gardiner 
Greene,  already  mentioned,  who,  after  her  marriage,  lived  in  Boston,  Mas- 
sachusetts; Miss  Marv  Copley,  who  remained  in  London;  and  one  son, 
Lord  Lvndhurst,  the  distinguished  British  jurist  and  statesman,  who  was  three 
times  appointed  lord  chancellor  of  England. 

The  foregoing  biographical  sketch  is  largely  based  upon  Mrs.  Amory's  '  Life  of  Copley  '  and  upon  the 
memoir  of  the  painter  by  Mr.  Augustus  Thorndike  Perkins. 


Ci)e  art  of  Coplfp 

SAMUEL    ISHAM  «A     HISTORY    OF    AMERICAN    PAINTINC' 

COPLEY'S  painting  separates  itself  into  two  pretty  sharply  marked  divi- 
sions, according  to  whether  it  was  done  before  or  after  he  left  Boston. 
The  latter  half  is  far  more  skilled  and  complete  technically,  but  it  is  the  earlier 
work,  the  long  series  of  portraits  of  our  colonial  dignitaries,  divines,  judges, 
and  merchants,  with  their  womankind,  which  is  most  interesting  and  char- 
acteristic and  which  gives  him  his  peculiar  importance.  They  are  the  only 
pre-revolutionary  relics  on  which  we  can  depend  to  put  before  our  eyes  the 
very  age  and  body  of  the  time.  The  very  lack  of  facile  skill  makes  their  ve- 
racity more  convincing  than  that  of  the  canvases  of  Gainsborough  or  Rey- 
nolds, where  temperament  or  training  idealized  or  Italianized  the  sitters  into 

'In  preparation  for  the  Macmillan  Co. 

[492] 


COPLEY  31 

something  rather  different  from  what  their  contemporaries  saw  in  daily  in- 
tercourse. Gainsborough  was  a  poet,  Reynolds  an  eclectic,  wise  in  all  the 
traditions  of  the  craft,  who  could  at  will  see  with  the  eye  and  work  with  the 
hand  of  Van  Dyck  or  Titian  —  or  come  pretty  near  to  it.  Copley  had  no 
such  temperament  or  training;  the  sitters  themselves,  in  the  cold,  clear  light 
of  New  England,  were  what  he  tried  to  put  on  the  canvases,  unmodified  by 
any  golden  mist  of  Venice  or  facile  brushwork  of  the  Netherlands. 

This  is  not  to  make  him  the  equal,  much  less  the  superior,  of  the  men 
just  named.  His  surroundings  forced  upon  him  a  greater  sincerity,  which 
seems  also  to  have  corresponded  with  his  temperament.  He  began  under  the 
influence  of  his  stepfather,  Pelham,and  though  the  latter  died  when  Copley 
was  a  boy  of  fourteen,  yet  his  influence  shows  through  much  of  the  painter's 
early  work.  The  engraving,  in  mezzotint,  of  Welsteed,  made  when  Copley 
was  sixteen,  much  resembles  the  average  work  of  Pelham,  and  is  more  like 
the  production  of  a  mediocre  craftsman  than  the  early  effort  of  a  boy  of  ex- 
ceptional talent.  He  very  soon  gave  up  engraving  and  seems  never  to  have 
returned  to  it  in  any  form,  but  his  early  works  show  its  influence  in  a  black- 
ness of  shadow  and  a  hardness  of  style;  they  were  in  addition  stiff  and  un- 
graceful, and  in  the  faces  there  was  a  sincerity  of  plainness  which  must  have 
been  trying  to  the  sitters.  Even  Smybert,  whose  work  resembles  that  of 
Copley  at  this  period,  and  whose  colonial  dames  are  rigid  and  unbending 
enough,  yet  manages  to  put  into  their  faces  a  comeliness  and  charm  unknown 
to  the  youthful  Copley,  still  struggling  uncompromisingly  with  the  difficul- 
ties of  drawing.  His  improvement  was  steady,  but  it  took  him  long  to  mas- 
ter certain  details  like  the  rendering  of  eyes,  which  Smybert  never  became 
entirely  sure  of.  At  first  they  were  little  better  than  dark  slits,  and  in  his 
best  colonial  work  the  lids  are  often  unnaturally  prominent.  He  learned 
nothing  by  heart,  acquired  no  ready  formulas  for  execution.  He  had  to  see 
every  detail  in  front  of  him  and  put  it  down  exactly  as  it  was.  He  worked 
laboriously,  mixing  each  tint  with  his  palette-knife,  holding  it  up  and  match- 
ing it  to  his  sitter's  face  before  he  placed  it  on  the  canvas.  This  made  him  a 
slow  executant,  and  there  are  many  stories  of  the  tedium  of  sitting  for  him; 
sixteen  sittings  of  a  whole  day  each  were  not  considered  too  much  for  a 
head  alone.   .   .   . 

The  pictures  thus  produced  were  without  beauty  of  tone  or  richness  of 
color.  Something  must  be  allowed  for  the  fading  of  the  flesh-tones,  prob- 
ably put  in  with  carmine,  but  the  effect  must  always  have  been  crude  and 
harsh.  The  high  lights  are  chalky  white,  the  shadows  black  or  brickish  brown ; 
a  cold,  raw  blue  (like  Prussian  blue)  is  often  painfully  prominent,  and  there 
is  no  attempt  to  soften  the  opposing  tints  nor  to  blend  them.  The  paint  is 
laid  on  heavily  and  worked  smooth  until  there  are  no  brush-marks  visible. 
There  is  no  attempt  to  keep  the  shadows  transparent,  nor  much  glazing  or 
working  over.  It  resembles  more,  in  a  way,  the  contemporary  French  work 
than  the  English,  where  the  traditions  of  Van  Dyck  were  being  revived. 
Nevertheless,  in  spite  of  these  faults,  or  possibly  on  account  of  them,  the 
portraits  have  remarkable  qualities.    The  figures  are  well  placed  on  the  can- 

[493] 


32  MASTERS     IN     ART 

vas  in  good,  it  rather  rigid,  poses,  and  the  backgrounds,  especially  in  the  full- 
length  portraits,  are  sufficiently  furnished  with  curtains,  tables,  and  Turkey 
rugs;  but  over  and  above  all  else  is  the  thorough,  unwearied  sincerity  of  the 
work.  Copley  knew  his  sitters,  knew  their  position  in  the  community,  their 
dignity,  their  character,  their  wealth.  He  was  in  sympathy  with  them,  and 
judged  by  their  own  standard  those  airs  and  graces  which  to  a  European 
might  seem  prov  incial  and  uncouth.  Holmes  has  well  called  his  portraits  the 
titles  of  nobility  of  the  Bostonians  of  his  day. 

He  painted  them  as  they  were,  serious,  self-reliant,  capable,  sometimes 
rather  pompous  in  their  heavy  velvet  coats,  but  men  to  be  depended  on  in 
an  emergency ;  the  women  fit  mates  for  the  men,  their  faces  stamped  with 
that  character  which  left  its  impress  on  every  child  of  the  ample  families  of 
the  time.  At  times  there  is  a  difficulty  in  reconciling  his  portraits  with  the 
reputation  of  the  sitters  for  grace  and  beautv  handed  down  in  the  old  diaries 
and  letters,  but  in  time  his  sincerity  triumphed  even  here,  and  while  the  por- 
trait remained  crude,  hard,  and  without  charm,  yet  we  recognize  that  it  is  the 
portrait  of  a  charming  woman.  This  lack  of  charm  tells  terribly  against  them 
when  hung  in  a  gallery  with  other  pictures,  but  when  seen  in  the  places  for 
which  they  were  destined,  the  halls  or  rooms  of  old  colonial  houses  of  Bos- 
ton or  other  of  the  New  England  cities,  or  brought  together  in  official  groups 
as  in  the  Harvard  Memorial  Hall,  their  inherent  strength  makes  itself  felt. 
I  hey  take  their  places  as  the  true  genii  loci  as  nothing  else  could  do.  Ev  en 
their  faults  strengthen  the  impression.  .  .  .  The  velvet  coats  and  embroidered 
waistcoats  of  the  men,  the  satin  robes  and  laces  of  the  women,  are  of  un- 
doubted genuineness.  Even  if  the  satin  looks  like  tin  we  know  that  it  is 
satin,  and  if  a  colonial  worthy  goes  to  the  expense  of  silk  stockings  not  even 
the  most  casual  observer  could  mistake  them  for  wool. 

In  time  this  unremitting  labor  began  to  have  its  result.  During  the  last 
ten  years  or  so  of  his  Boston  life  Copley  was  master  of  his  trade  and  could 
produce  what  he  tried  to.  That  his  portraits  still  remained  dry  and  hard,  with- 
out atmosphere,  was  because  he  had  not  seen  enough  good  work  to  recog- 
nize what  he  lacked.  But  he  was  now  in  a  position  to  benefit  at  once  from 
increased  knowledge.  He  was  no  sooner  abroad  than  his  stvle  gained  in  ease 
and  simplicity.  His  portrait  of  Ralph  Izard  and  his  wife,  painted  when  he 
was  in  Rome,  shows  still  something  of  the  old  stiffness  of  attitude,  the  over- 
filling with  detail,  but  the  work  is  smoother,  more  graceful,  though  mi- 
nutely finished  in  all  its  parts  in  a  way  more  characteristic  of  the  continental 
work  of  the  time  than  of  the  English,  where  the  example  of  Reynolds  had 
produced  a  broader,  more  effective  handling.  With  his  London  life  Copley's 
work  took  on  more  and  more  of  the  English  manner.  His  'Family  Group' 
of  himself,  his  wife,  his  father-in-law,  and  his  four  young  children,  painted 
a  few  years  after  his  arrival,  shows  this  alteration,  but  retains  also  the  finer 
qualities  of  his  colonial  period  and  is  one  of  his  very  best  works.  The 
composition  is  not  in  perfect  unity  and  the  tone  is  cold,  with  much  of  a 
sort  of  claret  color  and  his  old  unpleasant  blue,  but  they  are  softened  and 
harmonized  with  skill,  and  the  shadows  and  blacks  are  soft,  rich,  and  deep. 

[494] 


COPLEY  33 

The  painting  of  the  heads  is  superb,  drawn  impeccably,  full  of  character, 
and  with  only  a  touch  of  the  old  rigidity;  the  children  especially  are  most 
happy  in  attitude  and  expression.   .   .   . 

The  'Family  Group'  was  preceded  by  the  'Youth  Rescued  from  a  Shark,' 
and  followed  by  the  series  of  his  historical  pictures,  inspired  doubtless  by 
West's;  but,  surpassing  their  prototypes,  they  remain  to-day  masterpieces 
of  the  kind.   .   .   . 

These  compositions,  however,  were  but  incidents  in  his  work.  Portrait 
painting  was  the  business  of  his  life  from  beginning  to  end.  Probably  his  latter 
work  should  be  called  better  than  his  earlier.  It  certainly  had  fewer  glaring 
faults,  but  it  also  had  less  personality.  His  earlier  work  is  unmistakable  any- 
where; his  latter  often  approaches  so  closely  to  that  of  the  brilliant  circle  of 
contemporary  portrait-painters  in  England  that  it  is  practically  indistinguish- 
able from  it.  A  little  extra  firmness  and  solidity  of  drawing  persists  till  the 
end,  but  the  poses,  the  dark  backgrounds,  the  rich  color,  the  glazings,  are 
all  of  the  school. 

Like  Reynolds,  Copley  sought  for  "the  Venetian,"  the  marvelous  medium 
supposed  to  have  been  used  by  Titian,  which  like  the  philosopher's  stone 
would  by  its  own  virtue  transform  the  leaden  tones  of  mediocre  painters  into 
gold.  He  even  thought  a  few  years  before  his  death  that  he  had  found  it, 
but  he  was  then  only  one  of  many  who  could  paint  glowing  canvases. 
Patronage  fell  off;  almost  his  last  important  work,  an  equestrian  portrait  of 
the  prince  regent,  from  which  he  hoped  great  things,  remained  unsold;  his 
health  declined  and  his  life  did  not  long  outlast  his  popularity. 

HENRY    T.    TUCKERMAN  'BOOK     OF    THE    ARTISTS' 

COPLEY'S  portraits  are  among  the  (ew  significant  art-memorials  of  the 
past  encountered  in  this  country;  and,  as  they  are  characteristic  to  a 
high  degree,  they  possess  the  interest  which  is  ever  attached  to  such  relics. 
He  was  the  only  native  painter  of  real  skill  which  the  new  world  could  boast 
prior  to  the  Revolution. 

It  cannot  be  doubted  that  his  knowledge  was  acquired  under  considerable 
discouragement,  and  that  the  excellence  of  his  drawing  was  the  result  of  per- 
severing study.  The  want  of  early  advantages  appears  chiefly  in  his  color- 
ing. The  dryness  of  tone  and  formality  of  manner  in  his  pictures  is,  in  a 
great  degree,  attributable  to  the  unpropitious  influences  under  which  he  ac- 
quired the  rudiments  of  his  art. 

Associated  as  his  portraits  chiefly  are  with  the  colonial  or  revolutionary 
period  of  our  history,  there  lingers  around  them  the  charm  of  a  bygone  era, 
which  endears  even  their  palpable  defects.  The  want  of  ease  and  nature  in 
these  time-hallowed  portraits  is,  indeed,  as  authentic  as  their  costume.  They 
are  generally  dignified,  elaborate,  and  more  or  less  ostentatious  and  somewhat 
mechanical,  but  we  recognize  in  these  very  traits  the  best  evidence  of  their 
correctness.  They  illustrate  the  men  and  women  of  a  day  when  pride,  de- 
corum, and  an  elegance  sometimes  ungraceful  but  always  impressive  marked 
the  dress  and  air  of  the  higher  classes.    The  faces  are  rarely  insipid,  and  the 

[495] 


s 


34  MASTERSINART 

hands  almost  invariably  fair  and  delicately  molded.  A  rich  brocade  dressing- 
gown  and  velvet  skullcap,  a  high-backed  and  daintily  carved  chair,  or  showy 
curtain  in  the  background,  are  frequently  introduced.  "Sir"  and  "Madam" 
are  the  epithets  which  instinctively  rise  to  our  lips  in  apostrophizing  these 
"counterfeit  presentments."  There  is  that  about  them  which  precludes  the 
very  idea  of  taking  a  liberty.  They  look  like  incarnations  of  self-respect  — 
people  born  to  command  —  men  whose  families  were  regulated  with  the  re- 
serve of  state  policy,  and  women  who  were  models  of  virtue  and  propriety. 
In  reading  of  John  Hancock  or  Airs.  Boylston,  we  think  of  them  as  painted 
by  Copley.  Large  ruffles,  heavy  silks,  silver  buckles,  gold-embroidered  vests, 
and  powdered  wigs  are  blended  in  our  imaginations  with  the  memory  of  pa- 
triotic zeal  and  matronly  influence.  The  hardness  of  the  outlines  and  the 
semi-official  aspect  of  the  figures  correspond  with  the  spirit  of  those  times. 
Like  all  genuine  portrait-painters,  Copley  unconsciously  embodied  the  pe- 
culiarities of  his  age.  Pride  of  birth  had  not  then  been  superseded  by  pride 
of  wealth.  The  distinction  of  gentle  blood  was  cherished.  Equality  had  only 
begun  to  assert  itself  as  a  political  axiom;  as  a  social  principle  it  had  not 
dawned  upon  the  most  ultra  reformers.  The  patrician  element  still  carried 
honorable  sway  in  the  new  world,  and  ere  its  external  signs  were  lost  in  re- 
publican sameness  of  bearing  and  costume,  the  pencil  of  Copley  snatched 
them  from  oblivion,  by  a  faithful  transfer  to  canvas. 

RUFUS     ROCKWELL    WILSON  'NEW    ENGLAND    M  A  C  A  ZI N  E  '   1908 

IT  was  Copley's  own  belief  that  his  best  work  as  a  painter  was  done  in 
America,  and  in  this  opinion  the  thoughtful  student  of  his  portraits  can- 
not fail  to  concur.  They  are  never  commonplace  and  the  handling  is  always 
unmistakable.  A  calm,  deliberate,  and  methodical  workman,  he  never  hurried 
and  never  neglected  any  part  of  his  task.  "  He  painted,"  as  Gilbert  Stuart  said 
in  after  years,  "the  whole  man."  Self-taught,  Copley's  merits  and  faults  are 
his  own.  Superior  as  a  colorist  to  a  majority  of  his  contemporaries,  he  de- 
lighted in  the  brilliant  and  massive  uniforms,  the  brocades  and  embroidered 
velvets,  the  rich  laces  and  scarfs  of  his  day,  and  painted  them,  and  the  mas- 
terful men  and  stately  women  which  they  garbed,  with  sure  and  loving  hand. 
He  modeled  a  head  with  as  much  care  as  did  Clouet,  and  he  was  especially 
felicitous  in  catching  the  expression  of  the  eye,  while  his  skill  in  rendering 
the  individuality  and  character  of  the  hand  has  seldom  been  excelled. 

Copley's  faults  as  a  painter  are  an  occasional  tendency  to  dryness,  to  hard- 
ness of  outline,  and  to  stiffness  in  his  figures.  However,  distinction  is  never 
lacking  in  his  work,  and  in  his  best  portraits  the  faults  I  have  mentioned  are 
hardly  apparent.  Indeed,  their  truth,  simplicity,  repose,  and  refinement  would 
have  done  credit  to  any  artist  of  any  time;  and  painted  as  they  were  by  a 
young  man  who  never  had  a  teacher,  and  who  saw  few,  if  any,  good  pic- 
tures save  his  own  until  he  was  nearly  forty  years  of  age,  they  are  bound  to 
remain  the  marvels  of  our  pioneer  art. 

Copley  was  essentially  a  portrait-painter,  and  his  historical  and  religious 
pictures,  though  showing  no  mean  ability,  are  wanting  in  imagination,  and, 

[496] 


COPLEY  35 

at  their  best,  are  little  more  than  groups  of  carefully  executed  portraits.  Still, 
considered  solely  as  a  portrait-painter,  his  fame  is  secure.  No  painter,  not 
even  Holbein  or  Velasquez,  ever  lived  in  closer  sympathy  with  the  spirit  of 
his  time  than  did  he. 


C|)e  Woxbx  of  Copies 

DESCRIPTIONS    OF    THE    PLATES 
•PORTRAIT    OF    MRS.    DANIEL    DENISON     ROGERS'  PLATE    I 

ONE  of  Copley's  most  charming  works  is  this  portrait  of  Abigail  Brom- 
field,  first  wife  of  Mr.  Daniel  Denison  Rogers  of  Boston.  It  was  painted 
in  England,  and  in  its  composition  and  technical  qualities  exemplifies  the 
change  which  had  taken  place  in  Copley's  style  since  leaving  America,  the 
influence  of  the  English  school  being  here  clearly  marked. 

Mrs.  Rogers  is  dressed  in  white  satin  with  lace  ruffles  in  the  neck  and 
sleeves  and  a  white  muslin  scarf  about  her  shoulders.  Her  hair,  which  is  ar- 
ranged in  the  fashion  of  the  day,  is  slightly  powdered,  and  she  wears  a  large 
hat  with  a  soft  muslin  crown  trimmed  with  plum-colored  ribbons  and  sur- 
mounted by  white  ostrich  plumes,  while  around  the  edge  of  the  brim  is  a  del- 
icately painted  fall  of  lace.  She  stands  in  an  open  landscape,  her  skirt,  scarf, 
and  ribbons  blowing  in  the  breeze.  Behind  her  is  a  tree,  and  to  the  left  a 
brilliant  sunset  sky,  changing  in  color  from  pale  greenish-blue  with  white 
clouds  above  into  a  glow  of  red  and  gold  at  the  horizon. 

The  picture  measures  about  three  feet  four  inches  wide  by  a  little  over 
four  feet  high.  It  is  owned  by  Miss  Annette  P.  Rogers,  of  Boston,  Massa- 
chusetts, by  whose  permission  it  is  here  reproduced. 

'MR.  AND  MRS.  RALPH  IZARD'  PLATE  II 

WHILE  in  Rome  in  17  74-5,  Copley  painted  this  picture  of  Mr.  and 
Mrs.  Ralph  Izard,  whose  acquaintance  he  had  made  on  the  journey 
to  Italy,  and  of  whom  he  saw  much  during  his  sojourn  there.  Mr.  Izard  was 
a  wealthy  planter  of  South  Carolina,  who  had  been  educated  in  England,  and, 
since  1771,  had  resided  in  London.  His  wife  was, before  her  marriage,  Miss 
Alice  Delancey  of  West  Chester  County,  New  York,  niece  of  James  De- 
lancey,  lieutenant-governor  of  that  State. 

Copley's  double  portrait  of  Mr.  and  Mrs.  Izard,  the  only  original  work 
which  he  is  known  to  have  undertaken  while  on  his  European  travels,  is  one 
of  his  most  important  achievements.  The  canvas  measures  seven  feet  four 
inches  wide  by  five  feet  nine  inches  high.  Mr.  and  Mrs.  Izard  are  repre- 
sented at  opposite  ends  of  an  elaborately  carved  table  with  red  porphyry  top. 
The  ladv,  in  a  dress  of  blue  taffeta  with  white  gauzy  muslin  at  neck  and 

[497] 


36  MASTERS     IN    ART 

sleeves,  a  white  gauze  scarf,  and  muslin  cap  surmounting  her  brown  hair,  is 
seated  on  a  sofa  upholstered  in  rose-colored  damask  with  a  heavy  curtain  of 
the  same  color  draped  behind  her.  The  figure  of  Mrs.  Izard  is  excellently 
rendered,  but  that  of  Mr.  Izard  is  less  happv,  the  wooden  qualities  which 
characterize  many  of  Copley's  early  work  being  here  manifest.  The  colors, 
however,  are  admirable,  the  close-fitting  suit  of  brownish-gray  cloth,  light 
gray  stockings,  white  sleeve-ruffles  and  stock,  contrasting  harmoniously  with 
the  rose-colored  damask  of  the  chair  on  which  he  is  seated. 

In  the  middle  distance  is  a  marble  group  of  which  Mrs.  Izard  has  appar- 
ently just  finished  a  sketch  which  she  hands  across  the  table  for  her  husband's 
inspection.  Various  objects  in  the  background  are  suggestive  of  their  foreign 
surroundings — a  column  and  a  parapet  on  which  stands  a  Greek  vase,  and, 
in  the  distance,  the  Roman  Colosseum. 

This  picture  was  to  have  been  delivered  to  Mr.  Izard  in  London,  but  the 
outbreak  of  the  American  Revolution,  and  his  appointment  by  the  Conti- 
nental Congress  as  commissioner  to  Tuscany,  prevented  his  return  to  Eng- 
land, and  after  the  war  his  income  was  so  reduced  that  he  no  longer  felt  able 
to  pay  the  price  agreed  upon  of  two  hundred  guineas.  The  picture  accord- 
ingly remained  in  Copley's  studio  until,  in  1825,  ten  years  after  the  death 
of  the  painter,  a  grandson  of  Mr.  Izard,  Mr.  Charles  Manigault,  purchased 
it  in  London  from  Mrs.  Copley  for  the  original  price.  It  remained  in  the 
possession  of  the  family  for  which  it  had  been  in  the  first  place  painted  un- 
til 1903,  when  it  was  acquired  by  the  Museum  of  Fine  Arts,  Boston,  where 
it  now  hangs. 

♦  PORTRAIT    OF    MRS.    DANIEL     HUBBARD'  PLATE    III 

THIS  portrait  of  Mrs.  Daniel  Hubbard  is,  as  a  recent  critic  has  said,  "a 
typical  Copley,  the  work  representative  of  the  artist's  happiest  and  most 
refined  vein."  There  is  a  decided  charm  about  the  picture,  not  only  because 
of  the  beauty  and  distinction  of  the  subject,  which  are  here  admirably  ex- 
pressed, but  because  of  the  skill  shown  bv  the  painter  in  the  pose  and  draw- 
ing of  the  figure,  the  careful  modeling  of  the  face  and  hands,  the  rich  fall  of 
the  draperv,  and  the  harmony  of  the  colors. 

Mrs.  Hubbard  is  standing  by  a  small  table  covered  with  papers,  on  which 
one  arm  rests.  She  wears  a  gown  of  golden  brown  satin,  greenish  in  tone, 
cut  low  in  the  neck  and  finished  at  both  neck  and  sleeves  with  muslin  ruf- 
fles deeply  trimmed  with  lace.  Around  her  throat  is  a  muslin  ruff"  fastened 
with  a  bow  behind.  Her  dark  hair  is  combed  back  from  her  forehead  over  a 
cushion  and  ornamented  with  pearls.  A  column,  partly  hidden  by  a  dark 
green  curtain,  is  at  the  left,  and  in  the  distance  is  a  gray  cloudy  sky. 

Mrs.  Hubbard,  who  before  her  marriage  was  Mary  Greene,  was  born  in 
Boston  in  17  34.  She  married  Daniel  Hubbard,  the  son  by  a  previous  mar- 
riage of  the  lady  whom  her  father  married  for  his  second  wife,  and  who,  in 
1776,  was  one  of  the  list  of  proscribed  Tories  obliged  to  leave  Boston  when 
the  town  surrendered  to  Washington. 

[498] 


COPLEY  37 

Copley's  portrait  of  Mrs.  Hubbard  was  probably  painted  about  1764.  The 
canvas  measures  three  feet  four  inches  wide  by  four  feet  two  inches  high. 
It  is  owned  by  Miss  Mary  H.  Whitwell,  of  Boston,  Massachusetts,  by  whose 
permission  it  is  here  reproduced. 

'THE    DEATH    OF    MAJOR     P1ERSON'  PLATE    IV 

THE  incident  which  Copley  has  here  portrayed  occurred  during  the  in- 
vasion of  the  Island  of  Jersey  by  the  French  in  the  year  1781.  At  the 
storming  of  St.  Helier,  the  capital  of  the  island,  the  lieutenant-governor  was 
taken  prisoner,  and  compelled  by  the  enemy  to  sign  a  document  command- 
ing the  English  garrison  within  the  castle  to  remain  quiescent.  This  com- 
mand was  treated  with  contempt,  the  garrison  declaring  that  they  would  hold 
the  castle  at  all  cost,  and  Major  Pierson,  a  young  English  officer  only  twenty- 
four  years  old,  having  quickly  collected  a  few  companies  of  the  Jersey  mili- 
tia, courageously  charged  the  invaders,  closing  with  them  in  a  hand-to-hand 
conflict,  and  at  the  moment  of  victory  was  killed  by  a  ball  fired  at  him  by  a 
French  officer,  who  was  himself  immediately  shot  down  by  Major  Pierson's 
negro  servant. 

In  the  center  of  the  picture  the  body  of  Major  Pierson  is  being  borne  from 
the  fight.  At  the  immediate  left  is  the  negro  servant  in  the  act  of  firing  up- 
on the  French  officer  by  whom  his  master  was  killed,  and  whom  we  see  in 
the  background  dying  in  the  arms  of  a  companion.  The  fact  that  the  figures 
of  the  principal  groups  were  all  portraits  of  British  officers  who  participated 
in  the  engagement  added  to  the  interest  which  the  picture  aroused. 

Of  all  Copley's  historical  paintings  'The  Death  of  Major  Pierson'  is  con- 
sidered his  best.  The  composition  is  well  ordered,  the  scene  full  of  action, 
and  the  colors  harmonious.  It  was  painted  in  1783  for  Alderman  Boydell, 
who  had  engaged  a  number  of  Royal  Academicians,  Copley  among  them,  to 
contribute  towards  the  formation  of  a  gallery  of  English  paintings  of  histor- 
ical subjects.  Later  it  passed  into  the  possession  of  the  Copley  family,  and 
at  the  sale  of  Lord  Lyndhurst's  pictures  in  1864  was  purchased  for  the  Na- 
tional Gallery,  London,  where  it  now  hangs. 

The  canvas  measures  about  eight  feet  high  by  twelve  feet  wide. 

'PORTRAIT    OF    MRS.    THOMAS    BOYLSTON'  PLATE     V 

THE  portrait  of  Mrs.  Thomas  Boylston  is  justly  considered  one  of  Cop- 
ley's finest  works.  "His  fame,"  writes  Mr.  William  Howe  Downes  in 
the  'Atlantic  Monthly,'  "may  rest  secure  upon  this  portrait,  which  recalls 
the  work  of  the  great  masters  by  its  simplicity,  repose,  penetrating  truth,  and 
refinement.  It  is  executed  with  the  easy  skill  of  a  master-workman  and  has 
no  weak  spots.  Mrs.  Boylston  is  seated  in  a  handsome  arm-chair  which  is 
covered  with  faded  yellow  brocade  fastened  with  brass-headed  nails.  Her 
gown  is  of  a  light  olive-brown  silk,  and  she  wears  a  white  cap  and  broad 
white  muslin  collar,  or  cape,  covered  with  black  lace,  wide  white  ruffled 

[499] 


38  MASTERS     IN    ART 

wristbands,  and  silk  mitts.  There  is  a  curtain  in  the  background.  The  face, 
which  is  of  a  very  intelligent  and  interesting  cast,  is  described  with  perfect 
taste,  and,  it  may  be  presumed,  with  perfect  accuracv ;  the  lady's  hands,  which 
lie  crossed  upon  her  lap,  are  characterized  with  equal  force.  In  its  pretty, 
old-fashioned  frame,  this  portrait,  so  quiet,  so  well-bred,  so  complete,  utterly 
refutes  the  superficial  judgment  that  Copley  could  paint  nothing  so  well  as 
his  sitters'  clothes." 

Mrs.  Bovlston  was  the  mother  of  Nicholas  Boylston,  one  of  the  benefac- 
tors of  Harvard  University,  who  founded  a  professorship  there  of  rhetoric  and 
oratory,  and  of  Thomas  Boylston,  who  bequeathed  part  of  his  fortune  to  the 
citv  of  Boston.  She  died  in  17  74,  the  year  of  Copley's  departure  for  Eng- 
land. His  portrait  of  her,  and  those  which  he  painted  of  her  two  sons,  hang 
in  Memorial  Hall,  Harvard  University,  Cambridge,  Massachusetts. 

'THE  COPI.EV  KAMILV  CROUP'  PLATE  VI 

ONE  of  the  most  interesting  of  Copley's  works  is  this  celebrated  'Family 
Group,'  painted  soon  after  he  was  established  in  his  English  home,  and 
representing  himself  and  his  wife,  four  of  his  children,  and  his  father-in-law, 
Mr.  Richard  Clarke. 

Mrs.  Coplev,  in  a  bright  blue  dress  and  with  a  white  head-dress  worn  up- 
on her  dark  hair,  is  seated  upon  a  sofa  of  rose-colored  damask.  At  her  side, 
her  childish  form  thrown  across  a  round  cushion,  is  her  little  daughter  Mary, 
dressed  in  white  with  a  golden  brown  sash.  The  child  at  his  mother's  knee, 
whom  Mrs  Copley  bends  forward  to  caress  as  he  looks  up  lovingly  into  her 
face,  is  John  Singleton  Copley,  Jr.,  the  future  lord  chancellor  of  England. 
He  is  dressed  in  pale  yellow  with  a  gray  sash.  The  little  girl  in  front,  stand- 
ing demurely  with  crossed  hands,  and  suggestive  of  one  of  the  young  chil- 
dren of  King  Charles  I.  painted  by  Van  Dyck,  is  Elizabeth,  Copley's  oldest 
child,  who  in  after  life  married  Mr.  Gardiner  Greene,  of  Boston.  Her  quaintly 
fashioned  dress  is  of  white  striped  muslin,  the  skirt  showing  pink  underneath, 
and  around  her  waist  is  a  pink  gauze  sash  which  falls  like  a  train  behind. 
Her  cap  of  frilled  muslin  is  finished  in  front  with  a  tiny  pink  rosebud.  Be- 
hind her,  to  the  left,  sits  Mrs.  Copley's  father,  Mr.  Clarke,  with  gray  pow- 
dered wig,  holding  on  his  knee  the  year-old  Jonathan,  who  died  while  still  a 
child.  A  long  pink  ribbon  attached  to  a  rattle  in  the  little  boy's  hand,  his 
yellow  hair,  and  white  dress  are  offset  by  the  black  of  Mr.  Clarke's  costume. 
Copley  himself,  in  very  dark  blue  and  with  a  gray  powdered  wig,  stands  be- 
hind, leaning  on  a  parapet,  with  papers  in  his  hand. 

This  picture,  which  is  about  eight  feet  wide  by  six  feet  high,  hung  for 
nearly  a  century  over  the  fireplace  in  the  dining-room  of  Copley's  house  in 
London.  Upon  the  death  of  his  son,  Lord  Lyndhurst,  it  was  purchased  by 
Charles  S.  Amory,  Esq.,  the  husband  of  a  granddaughter  of  Copley,  and 
brought  to  the  United  States.  It  is  now  in  the  possession  of  Edward  Linzee 
Amory,  Esq.,  who  has  loaned  it  to  the  Boston  Museum  of  Fine  Arts,  where 
it  now  hangs,  and  bv  his  permission  it  is  here  reproduced. 

[500] 


COPLEY  39 

'PORTRAIT    OF    COLONEL    E  PES     SARGENT'  PLATE    VII 

THIS  portrait  offers  a  remarkably  fine  example  of  Copley's  style  at  a 
period  prior  to  his  departure  for  England,  when  some  of  his  most  vig- 
orous and  characteristic  work  was  produced.  It  is  undated,  but  was  prob- 
ably painted  before  17  60. 

Colonel  Epes  Sargent  is  represented  standing  with  his  right  elbow  upon 
the  base  of  a  column.  One  hand  is  in  the  pocket  of  his  coat;  the  other  is 
outspread  upon  his  chest,  and  is  painted  so  strongly  and  realistically  that 
Gilbert  Stuart  used  to  say  of  it  that  art  could  go  no  further.  "Prick  that 
hand,"  were  his  words,  "and  blood  will  spurt  out."  Colonel  Sargent  wears 
a  long,  loosely  fitting  coat  of  drab  broadcloth  buttoned  to  the  throat.  White 
lawn  ruffles  are  in  the  sleeves,  which  are  finished  with  deep  cuffs.  A  touch 
of  color  is  given  to  the  costume  by  the  strip  of  gold  lace  which  trims  an 
inner  vest.  His  face  is  round  and  full,  his  eyes  small,  blue,  and  laughing, 
his  straight  nose  and  thin  lips  are  admirably  modeled,  as  is  the  broad  fore- 
head offset  by  the  light  curling  wig,  from  which  some  of  the  powder  has 
fallen  upon  his  shoulder.  The  background  of  the  picture  is  a  shadowy  land- 
scape. The  canvas  measures  a  little  over  four  feet  high  by  three  feet  three 
inches  wide. 

Colonel  Epes  Sargent,  whose  colonel's  commission  was  held  under  King 
George  II.,  was  born  in  Gloucester,  Massachusetts,  in  1690,  but  the  latter 
part  of  his  life  was  passed  in  Salem,  where  he  died  in  1  762.  His  portrait  by 
Copley  is  in  the  possession  of  Mrs.  George  Henry  Clements,  of  Flushing, 
New  York,  by  whose  permission  it  is  here  reproduced. 

'PORTRAIT    OF    MISS    SUSANNA     RANDOLPH'  PLATE    VIII 

THIS  portrait,  painted  in  England,  is  a  fine  example  of  Copley's  late 
manner,  and  is  strikingly  reminiscent  of  Gainsborough,  whose  influence 
is  felt  in  the  pose  of  the  figure,  arrangement  of  the  accessories,  and  some- 
what in  the  scheme  of  color. 

Susanna  Randolph  was  the  daughter  of  the  first  Brett  Randolph  of  "Ches- 
ter," Powhatan  County,  Virginia.  Most  of  her  life  was  passed  in  England, 
where,  in  1783,  she  married  Dr.  Charles  Douglass,  heir  presumptive  of  the 
Earl  of  Morton. 

In  Copley's  picture  she  is  represented  standing  in  a  park-like  landscape, 
resting  one  elbow  on  a  parapet  on  which  lies  a  spray  of  jasmine.  She  wears 
a  gown  of  sky-blue  silk  with  undersleeves  of  soft  white  muslin,  and  in  one 
hand  holds  the  end  of  a  white  gauze  scarf  striped  with  gold,  which  is  thrown 
across  her  shoulder  and  encircles  her  waist.  Her  brown  hair  is  dressed  with 
pearls  and  blue  ribbons,  and  a  touch  of  blue  is  given  in  the  rosette  which 
decorates  her  white  slipper.  Her  eyes  are  brown,  her  complexion  clear,  and 
the  flesh-tones  of  face,  neck,  and  arms  are  delicately  rendered.  The  figure, 
which  is  life-size,  is  relieved  against  a  background  of  dark  foliage,  brownish- 
green — almost  olive — in  tone.  To  the  left  are  glimpses  of  blue  sky,  and  at 
the  horizon  a  golden  sunset  light. 

[501] 


40  MASTERSINART 

The  picture  measures  a  little  over  six  and  a  half  feet  high  by  four  and  a 
half  feet  wide.  It  is  owned  by  Airs.  Charles  F.  Sprague,  of  Brookline,  Massa- 
chusetts, by  whose  permission  it  is  here  reproduced. 

t  PORTRAIT    OP    LADY    WENT  WORTH'  PLATE    IX 

THIS  portrait  was  painted  in  1765,  when  Lady  Wentworth,  then  Mrs. 
Theodore  Atkinson,  was  nineteen  years  old.  She  is  dressed  in  a  gown  of 
silvery  gray  satin  finished  at  the  neck  with  lace,  and  with  lace  ruffles  in  the 
sleeves.  A  light  brown  gauze  sash  threaded  with  gold  crosses  the  bodice  di- 
agonally, and  fastened  from  her  shoulders  is  a  deep  blue  cloak  falling  in  folds 
behind.  A  string  of  pearls,  held  togetherwith  a  bow  of  white  ribbon,  is  around 
her  throat,  and  pearls  are  also  worn  in  her  dark  hair.  Both  hands  rest  upon 
a  table  before  which  she  is  seated,  and  in  one  of  them  she  holds  a  chain  to 
which  a  flying  squirrel  is  attached — a  favorite  motive  with  Copley.  Lady 
Wentworth's  figure  is  relieved  against  a  curtain  of  rich  dark  red,  revealing 
at  the  right  a  column  and  a  glimpse  beyond  of  blue  sky  and  white  clouds. 

Lady  Fiances  Deering  Wentworth  was  the  daughter  of  Samuel  Went- 
worth, of  Boston.  She  was  born  in  1746,  and  in  early  life  became  engaged 
to  her  cousin  John  Wentworth,  the  last  royal  governor  of  New  Hampshire; 
but  in  an  absence  of  her  lover's,  too  prolonged  to  be  agreeable  to  her,  she 
accepted  the  hand  of  another  suitor  and  cousin,  Theodore  Atkinson,  whom 
she  married  before  John  Wentworth's  return.  Before  many  years,  however, 
her  husband  died,  and  without  delav  —  within  a  fortnight,  indeed,  of  the  day 
of  his  funeral — she  married  her  first  love.  Upon  the  outbreak  of  revolu- 
tionary troubles  in  America,  Wentworth  and  his  wife  went  to  England, 
where  he  received  the  appointment  of  lieutenant-governor  of  Nova  Scotia. 
In  17  95  he  was  created  a  baronet,  and  three  years  later,  Lady  Wentworth, 
who  was  greatly  admired  for  her  beauty,  graceful  manners,  and  ready  wit, 
was  made  lady  in  waiting  to  Oueen  Charlotte,  wife  of  George  ill.,  at  a 
yearly  salary  of  five  hundred  pounds,  with  the  privilege  of  residing  abroad 
at  her  pleasure.    She  died  in  England  in  1813. 

Copley's  portrait  of  Lady  Wentworth,  which  was  held  to  be  as  excellent 
a  likeness  as  it  is  a  beautiful  example  of  his  art,  passed,  after  many  vicissi- 
tudes, into  the  possession  of  James  Lenox,  Esq.,  of  New  York,  and  was 
bequeathed  by  him  to  the  Lenox  Library  of  that  city,  where  it  now  hangs. 
Fhe  canvas  measures  about  four  feet  high  by  three  feet  four  inches  wide. 

'PORTRAIT   OF   THE    EARL   OP   MANSFIELD'  PLATE    X 

WILLIAM  MURRAY,  first  Earl  of  Mansfield,  the  distinguished  Brit- 
ish jurist  and  statesman,  who  has  been  called  "the  founder  of  English 
commercial  law,"  was  born  at  Scone  Abbey,  Scotland,  in  17  05.  Appointed 
solicitor-general  in  1742,  he  was  afterwards  elected  to  a  seat  in  the  House 
of  Commons,  where  his  eloquence  and  his  profound  legal  knowledge  ren- 
dered him  a  leader  and  a  powerful  adversary  of  William  Pitt,  who  headed 
the  opposite  party.    In   17  54  Murray  was  made  attorney-general,  and  two 

[502] 


COPLEY  -     .     4  1 

years  later  became  chief  justice  of  the  King's  Bench,  being  at  the  same  time 
raised  to  the  peerage  by  the  title  of  the  Earl  of  Mansfield.  Celebrated  for 
his  learning  and  his  brilliant  accomplishments,  it  was  said  of  him  that  he 
possessed  "a  courtesy  which  was  seldom  ruffled,  and  an  eloquence  which 
never  failed."  He  died  in  17  93,  at  the  age  of  eighty -eight,  and  was  buried 
in  Westminster  Abbev,  London. 

The  life-sized  portrait  of  the  Earl  of  Mansfield  which  is  here  reproduced 
was  painted  by  Copley  in  London  in  1783,  when  the  earl  was  seventy- 
eight  years  old.  He  is  represented  in  the  robes  of  a  peer  of  Great  Britain. 
A  full  gown  of  brilliant  red,  trimmed  with  bands  of  white  fur  and  of  gold 
embroidery,  falls  in  voluminous  folds  about  his  figure,  which  is  clad  in 
a  close-fitting  suit  of  black.  His  face  is  enframed  by  a  light  gray  full- 
bottomed  wig.  The  table  beside  him  is  covered  with  a  variegated  cloth  and 
piled  with  legal  books  and  with  documents  upon  which  he  rests  one  hand, 
while  in  the  other  he  holds  a  brief.  The  background  is  of  a  neutral  tone 
well  calculated  to  throw  into  relief  the  figure  with  its  contrasting  colors  of 
rich  red,  black,  gray,  white,  and  gold. 

The  picture  measures  seven  feet  four  inches  high  by  about  four  feet  nine 
inches  wide.    It  is  in  the  National  Portrait  Gallery,  London. 


A    LIST    OK    THE    PRINCIPAL    PAINTINGS     BY    COPLEY 
IN    PUBLIC    COLLECTIONS 

FOR  a  more  complete  list  of  Copley's  works  than  is  here  given  the  reader  is  referred  to 
Mr.  Augustus  Thorndike  Perkins's  'Sketch  of  the  Life  and  a  List  of  some  of  the 
Works  of  John  Singleton  Copley,'  with  supplements.  The  following  list  includes  only 
such  of  his  pictures  as  are  in  collections  which  are  accessible  to  the  public. 

ENGLAND.  London,  Christ's  Hospital  School:  A  Youth  rescued  from  a  Shark 
—  London,  Guildhall:  The  Siege  and  Relief  of  Gibraltar — London,  National 
Gallery:  The  Death  of  the  Earl  of  Chatham;  The  Death  of  Major  Pierson  (Plate  iv); 
The  Siege  and  Relief  of  Gibraltar  (Study);  Study  in  Monochrome  for  'The  Death  of  the 
Earl  of  Chatham'  —  London,  National  Portrait  Gallery:  Portrait  of  the  Earl  of 
Mansfield  (Plate  x);  Portrait  of  Lord  Heathfield  —  UNITED  STATES.  Boston, 
Massachusetts  Historical  Society:  Portrait  of  James  Allen;  Portrait  of  Rev.  William 
Welsteed;  Two  portraits  of  Samuel  Cooper;  Portrait  of  Samuel  Danforth;  Portrait  of  John 
Rogers;  Portrait  of  Thomas  Hutchinson — Boston,  Museum  of  Fine  Arts:  The  Copley 
Family  Group  (loaned)  (Plate  vi);  Mr.  and  Mrs.  Ralph  Izard  (Plate  n);  A  Youth  rescued 
from  a  Shark;  Portrait  of  John  Hancock  (loaned  by  the  city  of  Boston);  Portrait  of  Samuel 
Adams  (loaned  by  the  city  of  Boston);  Portrait  of  John  Quincy  Adams  (loaned);  Colonel 
Fitch  and  his  Sisters  (loaned);  Portraits  of  Mr.  and  Mrs.  Jeremiah  Lee  (loaned);  Portraits  of 
Mr.  and  Mrs.  Benjamin  Pickman  (loaned);  Portrait  of  Dorothy  Quincy  (loaned);  Portrait  of 
Mrs.  Daniel  Sargent  (loaned);  Mrs.  Richard  Derby  as  St.  Cecilia  (loaned);  Portrait  of  Gen- 
eral Joseph  Warren;  Portrait  of  Mrs.  Joseph  Warren;  Portrait  of  Colonel  Sparhawk  (loaned); 
Portrait  of  John  Scollay  (loaned);  Portrait  of  Mrs.  Skinner  (loaned);  Sketch  of  Mrs.  Startin 
(loaned);  Unfinished  sketch  for  'The  Death  of  the  Earl  of  Chatham'  (loaned)  —  Boston, 
Public  Library,  Trustee's  Room:  King  Charles  i.  demanding  in  the  House  of  Com- 
mons the  Five  Impeached  Members  —  Brunswick,  Maine,  Bowdoin  College,  Walker 
Art  Building:  Portrait  of  Governor  Bowdoin;  Portrait  of  Thomas  Flucker,  Esq. — 
Cambridge,  Mass.,  Harvard  University  [Memorial  Hall]  :  Portrait  of  John  Adams; 
Portrait  of  Samuel  Adams;   Portrait  of  Thomas  Hancock;  Portrait  of  Edward  Holyoke; 

[503] 


4  >  MASTERS    IN    ART 

Portrait  of  Mrs.  Thonuu  Boylston  (Plate  v)j  Portrait  of  Nicholas  Boylston;  Portrait  of 
Thomas  Boylston;  Portrait  of  Thomas  Hubbard;  Portrait  of  Nathaniel  Appleton;  Portrait 
of  Mrs.  Nathaniel  Appleton;  Portrait  of  Samuel  Cooper;  [University  Hall]  Portrait 
of  Professor  John  Winthrop  —  Niw  York,  LENOX  Library:-  Portrait  of  Lady  Went- 
uorth  (Plate  ix);  Portrait  of  Mrs.  Robert  Hooper — Niw  York,  New  York  Historical 
SOCIETY!    Portrait   of  Copley  —  Salem,  Mass.,  ESSEX    [hSTITUTE:    Portraits  of  Mr.  and 

Mrs.  Timothy  Fitch  —  Worcester,  Mass.,  American  Antiquarian  Society:  Portrait 
of  Charles  Paxton. 


A 


Copley  Btbltograpljp 

A    LIST    OF     THE    PRINCIPAL    BOOKS    AND    MAGAZINE    ARTICLES 
DEALING     WITH     COPLEY 

THE  principal  sources  of  information  abovit  Copley  are  'The  Domestic  and  Artistic 
Life  of  John  Singleton  Copley,  R.A.,'  by  his  granddaughter,  Martha  Babcock  Amory 
(Boston,  1882),  and  «A  Sketch  of  the  Life  and  a  List  of  some  of  the  Works  of  John  Sin- 
gleton Copley,'  by  Augustus  Thorndike  Perkins  (Privately  Printed,  1873). 

MORY,  M.  B.  The  Domestic  and  Artistic  Life  of  John  Singleton  Copley,  R.A. 
_  _C  Boston,  1882  —  Benjamin,  S.  G.  W.  Art  in  America.  New  York,  1880  — 
Buxton,  H.  J.  W.  English  Painters;  with  a  Chapter  on  American  Painters  by 
S.  R.  Koehler.  New  York,  1883 — Cook,  C.  Art  and  Artists  of  OurTime.  New  York 
("1888]  —  Copley's  picture  of  King  Charles  the  First  demanding  in  the  House  of  Com- 
mons the  Five  Impeached  Members.  Boston,  1859  —  Cunningham,  A.  Lives  of  the 
Most  Eminent  British  Painters  and  Sculptors.  London,  1846  —  Dun  lap,  W,  History 
of  the  Rise  and  Progress  of  the  Arts  of  Design  in  the  United  States.    New  York,  1834 

Feuillet  de  Conches,  F.  S.    Histoire  de  l'ecole  anglaise  de  peinture.    Paris,  1882  — 

Isham,  S.  A.  History  of  American  Painting  (in  preparation  for  the  Macmillan  Co.)  — 
Martin,  SirT.    John  Singleton  Copley  (in  Dictionary  of  National  Biography).    London, 

1897 Martin,  SirT.     A  Life  of  Lord  Lyndhurst.     London,  1883  —  Muther,  R. 

Geschichte  der  englischen  Malerei.  Berlin,  1903  —  Perkins,  A.T.  A  Sketch  of  the  Life 
and  a  List  of  some  of  the  Works  of  John  Singleton  Copley.  Boston,  1873  —  Redgrave, 
R.  and  S.  A  Century  of  Painters  of  the  English  School.  London,  1866 — Sandby,  W. 
History  of  the  Royal  Academy  of  Arts.  London,  1862  —  Tuckerman,  H.  T.  Book 
<»f  the  Artists.  New  York,  1867  —  Whitmore,  W.  H.  Notes  concerning  Peter  Pelham 
and  his  Successors  prior  to  the  Revolution.  Cambridge,  1867 — Winsor,  J.,  Editor. 
Memorial  History  of  Boston.    Boston,  1S81. 

MAGAZINE     ARTICLES 

AMERICAN  ARCHITECT,  1882:  C.  H.  Hart;  John  Singleton  Copley  (Review  of 
l.  Mrs.  Amory's  Life  of  Copley)  — Atlantic  Monthly,  1888:  W.  H.  Downes; 
Boston  Painters  and  Paintings.  1893:  P.  L.  Ford;  Some  Pelham-Copley  Letters  — 
Mr, -('lure's  Magazine,  1903:  W.  H.  Low;  A  Century  of  Painting  in  America  — 
Nation,  1873:  Review  of  Perkins's  Memoir  and  Works  of  Copley.  1882:  W.  H. 
Whitmore;  The  Painter  Copley  (Review  of  Mrs.  Amory's  Life  of  Copley)  —  New  Eng- 
land Magazine,  1902:  R.  R.  Wilson;  America's  First  Painters  —  Scribner's  Month- 
ly,  1881:   M.  B.  Amory;  John  Singleton  Copley,  R.A. 

[504] 


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PHOTOGRAVURE 


Child  buith    "Dog— Heynoldj 
Wallace  Collection  London 


$4.00  Each 

EXPRESS    PAID    IN    THE    UNITED    STATES    OR    CANADA 

This  illustration  is  one  of  a  series  of  over  100  beautiful  photogravures 
executed  abroad.  The  size  of  the  work  averages  about  17  x  22  inches. 
They  are  printed  on  hand-made  Van  Gelder  (Dutch)  paper,  or  on  India 
paper,  as  preferred. 

A  complete  list,  pa.rtia.lly  illustrated,  will  be  sent  free    on  application. 

No  finer  reproductions  have  yet  been  made  of  some  of  the  world's 
masterpieces.     They  are  especially  adapted  for  holiday  gifts. 

Prices  for  suitable  frames,  made  in  our  own  workshop,  will  be  quoted 
when  desired. 

A.  W.  Elson  &  Co.,  Boston 

146    OLIVER    STREET 


A.  W.  Elson  6*  Co.  were  awarded  two  gold  medals  for  their 
carbons  and  photogravures  a.t  St.  Louis  Exposition. 


14  DAY  USE 

RETURN  TO  DESK  FROM  WHICH  BORROWED 

LOAN  DEPT. 

This  book  is  due  on  the  last  date  stamped  below,  or 

on  the  date  to  which  renewed. 

Renewed  books  are  subject  to  immediate  recall. 


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PIANOS 


HE  QUARTER- 
GRAND 

It  is  a  perfect  Grand  piano 
with  the  sweetness  and  qual- 
ity of  the  larger  Grands  —  adapted  to  the 
limitations  of  the  average  room.-*  It  occu- 
pies practically  no  more  space  than  an 
Upright.-*  It  costs  no  more  than  the  large 
Upright.*  It  weighs  less  than  the  larger 
Uprights.*  It  is  a  more  artistic  piece  of 
furniture  than  an  Upright*  It  can  be 
moved  through  stairways  and  spaces 
smaller  than  will  admit  even  the  small 
Uprights.      ********* 


MADE    SOLELY   BY 


CHICKERING  &  SONS 

'ANOFORTE  MAKERS  i  ESTABLISHED   1823 

12    TREMONT    STREET,   BOSTON 


In  answering  adrertiscments,  please  mention  Masters  in  Art 


